Detail Library Committee

Production progression reel, from concepts to the final shots.

Music:
“Invisible Child” by Bruno Ito

Progression Reel from detail library on Vimeo.

Quick Update with two animation tests of our characters: Gadanthara and Poster-man.

Quick update to show that we are living and working on the short!

In this brief post will show our latest (finished) character: The Poster-Man!

The Poster-Man is the essence of our fictional city, San Corisco. Our city is immersed in advertising posters so absurdly (more on that in another post) that pollute they more than sell. It is the spirit of what the city has become. He is part of the dirt, so it’s happy on it. A walking poster that mysteriously has its own personality.

Actually, not so mysteriously… one of our concerns in the short is to make the characters “tangible” and “credible.” They do not need to be realistic, but must convince the viewer that they are alive.
For this reason the design of this character has ”tips” about its operation, but without revealing everything. Handles turn as he walks, his face is like a sheet of acetate that mechanically exchange… but in the end there’s still  a question of how he is alive.

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The scenario of the film Gadanthara, made by “The Detail Library Committee” is rich in detail and full of history. My name is Maria Amélia Gonçalves and with Flávio we are modeling the scenario. I’m going to explain about the process of construction and modeling in the film.

The aesthetics of the film was thought like the Stop Motions films. We got many concepts in this technique and then we transported to the 3d technique. When we are modeling the objects we think before how would this be done in miniature. We paid attention in dimensions, materials and others things. We thougth  these things before the construction.

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Hello everyone,

Before entering the subject of this post, I would like to announce that we have begun to animate our first short: Joana. Daniel is currently drawing on an animation table. Yes, you read it correctly, an animation table. But more details on the process of Joana will be shown in future posts.

Today I’ll present an overview of the creation process for our visual identity, the one that you see in this blog.
Last year, when I was still in college, I had some subjects related to creating visual identities. Besides my own I also decided to make the identity of this project. We used to have an “old” identity created by Damasceno, but it was originally made for what was once a short film “only”: The detail library. When the Detail Library became the name we would use for the whole project, I felt the need for another symbol.

Old Detail Library logo

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Green Light

The first version of Joana was made in 1998 when I wrote what was to be a small children’s book. Much has happened during these twelve years and the text was shelved alongside some drawings (which I will publish in the future on a post about the character designs). Every year, I took this material out and matured a little bit the idea, either showing for a friend, adding some design, or making some new notes. I was slowly transforming what was to be a book in an animation, however, was only with the structuring of the Detail Library that the story took shape.

Joana: original text

Last year, me and Dilly we were laying out strategies for the first year of the Library and in one of several conversations we had reached the conclusion that, besides the need of more scripts, it was important to think of an animation simpler and feasible than that were trying to produce (Gadanthara). This is where the screenplay for Joana really came up. The plot might be adequate to take place in San Corisco without interfering in any way the content of the story. When we realize that the fund raising and deadlines would initially be modest, I received a green light to get the team to adapt the story of Joana to the universe of the Library.

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Hello,

For our first product, Joana, we chose to make a 2d animation using both manual – drawing the pictures on PAPER – and digital techniques – using elements and special effects in 3D with Blender + GIMP GAP. We made this choice because:

• We love 2d animation;
• The story works better in 2d (semiotics);
• We think this technique does not have good documentation using latest technologies, especially the open-source ones;
• We are able to produce it with our own resources.

In other words it fits perfectly with the objectives of the project and its governing principles. But it is the last topic that justifies this post:

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